Fondation Louis Vuitton in Paris will host two major exhibitions this fall with a focus on 20th-century masters: Viennese expressionist Egon Schiele, and ground-breaking New York artist Jean-Michel Basquiat. Both shows are on view from Oct. 3, 2018 to Jan. 14, 2019.

Installed across all four floors of the Fondation Louis Vuitton’s Frank Gehry building, Jean-Michel Basquiat will feature 120 works by the trailblazing artist, spanning his entire career, from 1980 to 1988. Highlights include works from the Heads series (1981-82), together for the first time in this exhibition; collaborations between Basquiat and Andy Warhol; a number of works that have never been seen in Europe, such as Obnoxious Liberals (1982), In Italian (1983) and Riding with Death (1988); and paintings that have rarely been seen since their first presentations during the artist’s lifetime, such as Offensive Orange (1982), Untitled(Boxer) (1982), and Untitled (Yellow Tar and Feathers) (1982).

Shedding light on the artist’s inimitable touch, use of language, and his uncompromising assertion of an African-American frame of reference, Jean-Michel Basquiat will showcase the artist’s prolific body of work as a great artist and a genius of draughtsmanship.

Jean-Michel Basquiat is organized by the Fondation Louis Vuitton in collaboration with the Brant Foundation, and is curated by Artistic Director Suzanne Pagé and independent curator Dieter Buchhart.

A solo exhibition of work by 19th century Austrian painter Egon Schiele will be the first exhibition in Paris dedicated to the artist in 25 years. On view on the first floor of the Fondation Louis Vuitton, Egon Schiele will feature approximately 120 works—drawings, gouaches, and paintings—including masterpieces such as Self-Portrait with a Chinese Lantern (1912, Leopold Museum, Vienna), Pregnant Woman and Death (1911, Národní Galerie, Prague), Portrait of the Artist’s Wife Seated, Holding Her Right Leg (1917, Morgan Library & Museum, New York), Standing Nude with Blue Sheet (1914, Germanisches Nationalmuseum, Nuremberg), Seated Male Nude (1910, Neue Galerie, New York), and Self-Portrait (1912, National Gallery of Art, Washington, D.C.).

The exhibition is organized chronologically across four rooms, following the concept of line and its development in the artist’s work. Dieter Buchhart explains his choice in this way: “Very few artists have approached line and drawing with the same virtuosity and intensity as Schiele. [...] By evolving from the ornamental line towards the expressionist line, combined, in three dimensions, fragmented and amputated, he enabled a borderline dissonant and divergent experience of the line as a sign of human existence.”